plate no. 1528

04. Still Life Pink Roses in a Vase 2017 by Anthony D. Padgett (after Van Gogh Saint Remy 1890)

Anthony Padgett, 2017

oilPost-Impressionismsymbolic paintingrosesvaseflowersstill lifeleavestable

recreation guide

This artwork is a 2017 oil painting by Anthony D. Padgett, titled 'Still Life Pink Roses in a Vase,' which serves as a homage to Vincent van Gogh’s 1890 work from Saint-Rémy. Stylistically categorized as Post-Impressionism and symbolic painting, the piece likely engages with the expressive use of color and texture characteristic of that movement. While the specific visual details of Padgett’s composition are not described in the provided sources, the recreation relies on established oil painting techniques such as glazing and scumbling, which were practiced by old masters and remain relevant for achieving depth and luminosity in floral still lifes. The process emphasizes the manipulation of light and color contrast, drawing on principles of simultaneous contrast to enhance the visual impact of the pink roses against their background.

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigment and drying oil)	Primary medium for painting	Modern tube oils mixed with linseed, walnut, or poppyseed oil
Linseed oil	General purpose drying oil for mixing paints and glazing	Refined linseed oil
Safflower, walnut, or poppyseed oil	Mixing lighter colors like white to prevent yellowing	Safflower oil or poppyseed oil
Varnish	Mixed with oil for glazing to gain mastery over transparent coats	Dammar or synthetic resin varnish
Canvas or linen support	Surface for painting	Primed linen or cotton canvas
Brushes	Application of paint, glazing, and scumbling	Hog bristle and sable brushes

preparation

surface prep

The surface should be prepared with a ground suitable for oil painting. While the specific ground used by Padgett is not detailed, traditional practice involves a white or neutral ground to facilitate the layering of transparent and semi-opaque colors. The sources note that linen is a common support for oil painting (Source 3).

underdrawing

The sources do not specify Padgett’s underdrawing method. However, in the context of Post-Impressionist and old master techniques, an underdrawing may be minimal or integrated into the underpainting phase. If following the grisaille method described in Source 1, the underdrawing would be part of the monochrome preparation.

underpainting

A grisaille (monochrome underpainting) is recommended, focusing on values while mentally extracting red and yellow colors (Source 1). This layer should be allowed to dry completely before proceeding to glazing and scumbling. The grisaille establishes the tonal structure, allowing the subsequent color layers to interact with the underlying values.

color palette

Pink/Rose tones

Red and white pigments, possibly glazed over a lighter underpainting

The roses, utilizing glazing to achieve luminosity

Green tones

Yellow and blue pigments

Leaves and stems, potentially using scumbling for texture

Neutral grays/browns

Black, ultramarine, and white (as per Reynolds' method)

Grisaille underpainting and shadows

White

Lead white historically, or titanium/zinc white modernly

Highlights and mixing lighter tints; safflower oil recommended to prevent yellowing (Source 3)

composition

The composition likely follows Post-Impressionist principles, emphasizing expressive form and color contrast rather than strict realism. While specific compositional moves are not detailed in the sources, the arrangement of the vase and roses would benefit from considering the law of simultaneous contrast, where adjacent colors influence each other’s perception (Source 2). The placement of elements should create a harmonious balance, with attention to how light and dark tones interact to enhance the visual impact.

step by step

underpainting→first pass→refining→finishing

underpainting

step 01
Create a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia or linseed oil. Focus on values, mentally excluding red and yellow tones.
Tip — Ensure the grisaille is completely dry before proceeding.
Grisaille

first pass

step 02
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil or a mix of varnish and oil for the medium.
Tip — Glazing adds depth and luminosity; apply thin, even layers.
Glazing

refining

step 03
Use scumbling to add semi-opaque layers, particularly for lighter tones or textures. Scumbling over darker grounds can create a grey bloom effect.
Tip — Scumbling allows the underlying painting to show through, adding complexity.
Scumbling
step 04
Adjust colors based on simultaneous contrast. Observe how adjacent colors modify each other and make corrections to enhance harmony and visual impact.
Tip — Be aware of mixed contrast effects, where previous color viewing influences current perception.
Simultaneous Contrast

finishing

step 05
Finalize details and ensure all layers are dry. Consider a final varnish if desired, though the sources focus on oil and varnish mixtures during the painting process.
Tip — Allow sufficient drying time between layers to prevent cracking or mixing.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This method was used by old masters and is recommended for achieving rich tones in oil painting.

Scumbling

Applying semi-opaque paint over a dry layer, allowing the underlying painting to show through. Useful for creating texture and subtle color variations, such as a grey bloom over darker grounds.

Simultaneous Contrast

Understanding how adjacent colors influence each other’s perception. This principle helps in harmonizing colors and enhancing the visual impact of the composition.

common pitfalls

→Applying glazes or scumbles before the underlying layer is completely dry, which can lead to muddiness or cracking.
→Ignoring the effects of simultaneous contrast, resulting in colors that appear dull or unharmonious.
→Using linseed oil for white pigments, which may cause yellowing over time; safflower, walnut, or poppyseed oil are better choices for lighter colors (Source 3).
→Overworking the paint, which can destroy the delicate balance of transparent and semi-opaque layers.

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific details of Anthony D. Padgett’s personal technique or palette preferences are not provided in the sources.
·The exact composition and arrangement of the roses and vase in this specific artwork are not described.
·Information on Padgett’s use of specific pigments or modern equivalents is limited.
·Details on the final varnishing process or preservation techniques for this specific work are not included.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting (grisaille), glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast adjustments

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.